Newest Features
By BIG RED Print this article This past weekend, the Berwick Research Institute released their first book: BRI*air. As one of Boston’s more embattled alternative spaces, the Berwick has been functioning without its exhibition venue or performance space for over a year, since city inspectional services shut them down. However, their Artist In Research Program (AIR) has flourished, providing studio space, encouragement and support to a long and impressive list of young artists. BRI*air features works by sculptor Christy Georg, David Webber’s A0200 Robot, the Belgian collaborative Chambre a Memoir, orchestral group…
By NATALIE LOVELESS Print this article […5…] One should not develop a taste for mourning, and yet mourn we must. […13…] What happens when a great thinker becomes silent, one whom we knew living, whom we read and reread, and also heard, one from whom we were still awaiting a response, as if such a response would help us not only to think otherwise but also to read what we thought we had already read under his signature, a response that held everything in reserve, and so much more than what we…
By BIG RED Print this article Citing copyright issues, a painting by Damian Loeb that was included in “The Charged Image: Work from the Collection of Douglas Cramer” at the University of Harford Joseloff Gallery was removed from the exhibition. The painting, titled Blow Job (The Three Little Boys), echoes a photograph made by Tina Barney made in 1990, The Boys. Those represented in the photograph are the children of a local art patron who was a former board member of the Wadsworth Atheneum. The question remains if the “copyright issue” was…
By ANNEKA LENSSEN Print this article Though the art department at Harvard is much-discussed, is it worth its reputation? It has that gauzy name: Visual and Environmental Studies (VES). A gossipy New Yorker article two years ago detailed the dismissal of the department chair Ellen Phelan (a painter) and the appointment of Marjorie Garber (a formidable figure in pop cultural lit crit and, gasp, not an artist at all) in her place. No MFAs are earned in VES, nor any other department at Harvard, and it seems likely that there never will…
During my regular commute from the Bowdin Street T stop on the Blue Line up the hill to classes at Suffolk University, for many months, I passed by the construction site for a high rise government office building. Often that climb up the steep incline was defined by the weather. Good feelings on a warm spring day, gloom on grim winter ones. Bracing for a class to commence momentarily, and the ongoing tension of negotiating the busy elevators in the lobby of the Sawyer Building. But during that routine passage, several weeks…
By BEN SLOAT Print this article Gallery Katz in the South End currently has on exhibit until October 16th, a show by the artist Shepard Fairey. Famed for his ubiquitous “Obey” stickers, replete with an image of Andre the Giant, and reminding of his posse, his height, and his weight, Fairey began this popular public art project while still an undergrad at RISD in 1989. The subtext of this project was varied: while certainly an example of street art, along the lines of graffiti, Fairey, heavily influenced by the writings of Marshall…
By MICAH J. MALONE Print this article Green St. Gallery is under construction. With saws, Vacuums, scraps of wood, and tons of dust, Douglas Weathersby’s newest installment resembles a construction site as much as an art exhibition. Commissioned to complete an office that eliminates a desk and adds a wall with some shelving, the efforts of Environmental Services are in constant progress over the course of this exhibition. Having recently shown at the ICA and the Rose Art Museum, many are already familiar with Weathersby’s work. In short, Environmental Services was created…
By CHRISTIAN HOLLAND Print this article The very first screening of the Fall 2004 season of Alla Kovgan and Jeff Silva’s semi-weekly Balagan experimental film and video series was called “New England Beat.” But a title including the phrase ‘experimental nonfiction’ would have also sufficed as the show, though comprised of only New England filmmakers, was made up of mostly just that. Each work ranged from photo album-esque montages to self-consciously didactic scientific “studies.” This roused several questions in the audience and myself as we were expecting a cross-section of local experimental…